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Full text of "Miniatures for piano four-hands; a series of original melodies ... based upon essential requirements of five-finger positions .."

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y L 650329 
'6, l\. hands. 



Mu y8b.4i Goao 






J3ii2^g$: 



Miniatures. Pxano, ^ hands, 
belections. 



^.50 + .foi? 



MY 



NY PUBLIC LIBRARY THE BRANCH LIBRARIES 



3 3333 05859 0130 



THE NEW YORK PUBLIC LIBRARY 

MY 



AT 
LINCOLN CENTER 



Books circulate for four weeks (28 days) unless 

stamped otherwise. 
No renewals are allowed. 
A fine of ten cents per calendar day will be charged for 

each overdue album. 
Records must be returned to the branch from which 
they were borrowed. 



GODOV^SKY 

MINIATVReS 



In 3ixVolume5 




C7Kr^^ v^^H'^.A 



Price ^ 2,-50 n^ t 



Carl S'isch^r 

Cooper5quare 



PREFACE 

A MINIATURE is an art expression in small dimensions, distinctive in its delicate and exquisite work- 
manship. What Leopold Godowsky has done in these little compositions justifies title and definition, 
x,uiioiuv.icii.iu>u> Schumann, Tschaikowsky and others of the great composers have written charming little pieces, 

ostensibly intended for young students — that is, music conceived from the art standpoint, yet with an 
underlying educational purpose in mind. But what they have created in this field is of an unevenly distributed difficulty ; it lacks 
the continuity, the gradual sequence of development so necessary for the acquisition of balanced technical, as well as interpre- 
tative results. And passing mention is all that need be made of the mass of inferior four-hand music available for teaching 
purposes. In these Miniatures we find musical beauty within small dimensions, expressed in exquisitely finished workmanship; 
and in a novel form whose underlying educational importance is hardly implied by their title. 

• /\ ^ THE composer himself writes in a letter to the publisher: "I have given a great deal of thought and 
^ " /"% loving care to the Miniatures and though the pieces are smaller and considerably less complicated 

I<J^3" than anything I have ever written, they represent the best there is in me. The experience and assimi- 

lated knowledge, the aims and aspirations, the hopes and ideals, the disappointments and yearnings of 
a sensitive nature and an artist's soul are all to te found in this series of simple five-finger pieces. Working within such 
self-imposed limitations has convinced me that economy of means leads to a superior form of concentration, and the resulting 
concentrated effort produces the quintessence of human endeavor, materially and spiritually. The resourcefulness needed in 
dealing frugally with the means at our command often opens up unexplored and unsuspected regions of imagination. In work- 
ing on the Miniatures I have been amazed at the possibilities created by the adopted restrictions. I have done my utmost to 
give the same attention to melody, harmony and counterpoint. I have tried my best to make the pieces as simple and as easy as 
was compatible with the intrinsic value of the inspiration and idea. I could have made them simpler and easier for the 
teacher, but the result would have been artistically less satisfactory, and much of their attractiveness would have been lost. I 
wish to inaugurate a new era in pedagogy, particularly as regards the earliest and early grades." 

_ , . , ^ ■ AHE MELODIES in the prima parts of the Miniatures are based on a five-tone compass. This furthers 

I the acquisition of a permanently correct position of the hand, as the hand is thus kept in a stable five- 
Advantages finger position, each finger playing throughout the entire composition the one key allotted to it. The 
result is an equalization of the fingers which no other method offers. The fixed position of the hand 
compels the frequent use of the weaker digits, as the passing under of the thumb does not take place. (This gives the Miniatures 
a special value for the rtiore advanced player who wishes to strengthen the more neglected fingers.) Their genuine musical 
interest and rich harmonic texture will encourage a more rapid progress towards proficiency than would any number of dry 
mechanical exercises. It is owing to imperfect control of the normal keyboard position of the hand and to finger inequality 
that students, as a rule, are unable to play expressively with the weaker fingers. For purposes of prima vista reading the 
Miniatures offer manifold advantages. Their interesting and scholarly workmanship will be appreciated by the teacher, so often 
bored by the triviality and monotony of the four-hand part assigned him. Every detail of fingering, pedalling, phrasing, tempo 
and expression, dynamic light and shade, etc., has been indicated with meticulous care by the composer and should be accepted 
as authoritative. The composer specifies that : "Of the forty-six numbers, twenty-two are easy, eleven moderately easy, and 
thirteen rather advanced for the teacher, while the pupils' parts are all accessible to beginners and at the same time equally 
useful to advanced players. The more ambitious pupils can ultimately play the teachers' parts." 

,, . , TT would not be just, perhaps, to deny that the easy four-hand collections of a Low, a Loeschhorn or a 

I Spindler, as well as some others, have their place in the pedagogic scheme. Yet in many ways they rep- 

Advantages resent abandoned standards and antiquated ideas. And present-day ideals of piano playing and teaching 

reflect so notable an advance, they so emphatically insist that the best is none too good, that the musical 
as well as the technical advantages of such compositions as these Godowsky Miniatures are only too apparent. In them, a 
fuller, more practical measure of technical benefit goes hand in hand with a stressing of the musical and artistic elements. The 
Miniatures are healthily modern in idea and harmonic treatment. In place of the banal simplicity of some sixty or eighty 
years ago (still noticeable in much instructive four-hand music of the hour) we have real constructive imagination, an art 
beyorid cavil ; a quality of appeal which none truly musical can CN-ade. Not only do the charming creations of Godowsky's fancy 
guide aright the pupil's first half-conscious steps toward interpretation and esthetic expression of a musical idea — the acquisition 
of color by touch gradation, dynamic and agogic emphasis, light and shade in playing, correct phrasing and articulation of 
musical sentences — biit they give him as well a clear conception of most of the musical formSj ancient and modern, strict and 
free, their contrasting characteristics being presented in a concrete though condensed manner. The short annotation which 
accompanies every number helps the student to understand form and character in musical composition, while it offers the 
teacher material for elaboration in an analysis of the Miniature in question. Though the above considerations aim to give 
some idea of the purpose and scope of these four-hand Miniatures, there is one thing which it is beyond their power to do — 
to coi vey to the reader with approximate accuracy the spark of genius which illuminates these happy offspring of Godowsky's 
muse, their absolute musical charm which cannot well be described or defined. The inti-insic worth of the Miniatures may be 
appreciated only by actual acquaintance. 

Frederick H. Martens. 



AlUlgi^ tli-& PBOPERTT OV TTTP rrr? 0? KW YORK /J / S^S^ Ol ^ /O 



IttB 



LEOPOLD GODOWSKY 

[miniatures 

FOR PIANO FOUR -HANDS. 5^-/- , ..,^7 

A series of original melodies, including thirty -four compositions and three suites 
in a variety of classic and modern dance forms, as well as others in established and fan- 
ciful musical form, developed from five tone combinations and based upon essential re- 
quirements of five-finger positions. 

*THREE SUITES 



FIRST SUITE 




SECOND SUITE 




THIRD SUITE 


In Church 
At Night 
Lullaby 
Rustic Dance 




Arietta 
Sarabande 
Cradle Song 
Bagatelle (Valsette) 

Price ^2.50 net. 




Prelude (The Organ Point) 

Chorales 

Hymn 

Epilogue (Retrospect) 
(for left httnd alone) 




ANCIENT DANCES 






First Minuet 


(C 


Major) Gave 


tte 




Second Minue 


t (G 


Major) Bourree 




Rigaudon 




Sicil 
Irish Jig 


iana 






Price$2.50 net. 







MODERN DANCES 

Polka Tarantella ( Italy) 

Tyrolean (Laendler) Csardas ( Hungary) 

Valse Elegiaque MazurkalChopinesque) 

Polonaise 

Price^2.50net. 
MISCELLANEOUS (Nos.l to 7) 

Serenade Pastorale (Angelus) 

The Miller's Song The Exercise 

Meditation c^u „ Processional March 

ocnerzo 

Price^2.50 net. 

MISCELLANEOUS (Nos.8 to 14) 

Arabian Chant (Orientale) Plaintive Melody 

Albumblatt (Intermezzo) Ballade 

Funeral March Nocturne 

Barcarolle 

Pricei2.50net, 

MISCELLANEOUS (Nos.l5 to20) 

Humoresque The Scholar(Fughetta) 

Toccatina The Hunter's Call (Woodland Mood) 

Impromptu (In Days of Yore) Military March 

Price*2.50 net. 

All above compositiona published separately 

CARL FISCHER - Cooper Square -NEW YORK 

BOSTON CHICAGO 

380-382 Boylston St. 430-432 So. Wabash Ave. 



FIRST SUITE 



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International Copyright Secured 



N9 2 
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International Copyright Secured 



N? 2 



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International Copyright Secured 



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International Copyright Secured 



13 

SECOND SUITE 

N9 1 
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30915 -10 



Copyright MCMXVIII by Carl Fischer, New York 
International Copyright Secured 



14 

N9 2 

Sarabande 



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International Copyright Secured 



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16 

N9 3 
Cradle Song 

SECONDO 



Moderate ( J r 52 - 56) 



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N9 3 



Cradle Song 



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18 

N9 4 
Bagatelle 

(Valsette) 

SECONDO 



Allegretto grazioso (J • = 46 -58) 



LEOPOLD GODOWSKY 







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19 

N9 4 
Bagatelle 

(Valsette) 
PRIMO 



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30 

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23 



THIRD SUITE 

N91 
Prelude 

(The Organ Point) 



Maestoso (J z 112 -126) 



SECONDO 



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International Copyright Secured 



23 



THIRD SUITE 



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N91 
Prelude 

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PRIMO 



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34 
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Chorale 



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N9 2 
Chorale 



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38 



N9 3 
Hymn 

SECONDO 



Maestoso (J : 63 -72) 



LEOPOLD GODOWSKY 



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International Copyright Secured 



29 

N9 3 
Hymn 



PRIMO 

Maestoso (J z 63-72) 



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'^0741-10 



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30 

N9 4 
Epilogue 

(Retrospect) 

SECONDO 
Andante cantabile (J r 76 - 84) 



LEOPOLD GODOWSKY 




CC ^. -Seb ^ 

20741-10 



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Copyright MCMXVIJT by Carl Fischer, Xew York 
International Copyright Secured 



31 

N9 4 
Epilogue 

(Retrospect) 



PRIMO 



Compass 

Left Hand a/one 



^ j r r f r r ^ 



Andante cantabile (J z 7H-84) 



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C C 

30741-10 



Copyright MCMXVJII b.y Carl Fischer, New York 
International Copyright Secured 



T/^/IirSCJ^PT/OUS 




o/jeopo/d 
Godoa/sAy 

Moment Musical (Jran%.Sc/\u6ert) _, 

(Qo. •34 Ao. 3 ) net./o 
Serenade (/{.Strauss) net. 73 

(Stdndchen) 

JcxT\^o (J:^<llher\id) net .J^ 

Jo3tr\anr{ou5 oKaltz (Chopin) r^et ./6 
inT) f/atr 

/<] y/oa/er to me k7/\ou jeen\e5t 

(j)u h'-it wid e/ne s^utne) {l^bt. Schumann) 

iop.Jis.) r\et .JO 

Ca/n\ as tf\e W^ht 

(6ti// urie die JTacAt) "^{Corj £)Of\n\) 

r\et .60 



iillllllliliiiiiiiliiliiililliaglM 



BOSTON 

380-382 BOYLSTON ST. 



CARL FISCHER, NEW YORK 



CHICAGO 



COOPER SQUARE 430-432 SO. WABASH AVE. 

TOKYO, JAPAN— THE KYOEKI SHOSHA 



LEOPOLD GODOWSKY 



MINIATURES 

For Piano Four-Hands 



.net. .75 



A series of oriEinal melodies, including thirty-four conij>ositions and three suites in a variety of classic and modern dance forms, as well as others 
'm established and fanciful musical form, developed from five tone combinations and based upon essential requirements of five-finger positions. 

SUITES 

FIRST SUITE 

1. In Church \ 

2. At Night f ^ r- r-± "ir 

3. Lullaby ^ Compass C-Gf net, .75 

4. Rustic Dance i 

SECOND SUITE 

1. Arietta Compass l.h. C-G, r.h. B-FJ 

2. Sarabande Compass A-E 

3. Cradle Song Compass C-G 

4. Bagatelle ( Valsette) Compass l.h., C-G, r.h., B-Fj 

THIRD SUITE 

1. Prelude (The Organ Point) ) 

2. Chorale f ^ tj t7j. » tc 

3. Hymn I Compass B-Ff net, .75 

4. Epilogue (Retrospect) (for left hand alone) .1 

ANCIENT DANCES 

1. First Minuet (C Major). .^ Compass C-Gt net, .50 

2. Second Minuet (G Major)! Compass G-Df net, .50 

3. Rigaudon (also for piano solo) Compass G-Dt net, .50 

4. Gavotte Compass D-Af net, .50 

5. Bourree Compass Eb-Dbf (-"Ml black keys) net, .50 

6. Siciliana Compass Ab-Gbf (All black keys) net, .50 

7. Irish Jig Compass F-Gf net, .50 

MODERN DANCES 

1. Polka Compass .G-Df net, .50 

2. Tyrolean (Laendler) Compass G-Df net, .50 

3. Valse filegiaque Compass A-Ef net, .50 

4. Tarantella (Italy) Compass .VEf net, .50 

5. Csardas (Hungary) Compass A-Ef net, .^5 

6. Mazurka (Chopinesque) Compass B-pf net, .50 

7. Polonaise Compass Db-Bbf (All black keys) net, .50 

MISCELLANEOUS 

1. Serenade Compass C-Gf net, .50 

2. The Miller's Song Compass C-Gt net, .75 

3. Meditation Compass C-Gf net, .50 

4. Pastorale (Angelus) Compass C-Gf net, .50 

5. The Exercise Compass G-Df net, .50 

6. Processional March Compass G-Df net, .50 

7. Scherzo Compass G-Df net, .75 

8. Arabian Chant (Orientale) Compass A-Ef net, .50 

9. Albumblatt (Intermezzo) Compass B-Ff net, .50 

10. Funeral March Compass D-Af net, .50 

11. Plaintive Melody Compass D-Af net, .50 

12. Ballade Compass E-Bf net, .50 

13. Nocturne Compass Gb-Ebf (All black keys) net, .50 

14. Barcarolle Compass Bb-Abf (All 'black keys) net, .50 

15. Humoresque (also for piano solo) Compass l.h., D-A, r.h., Bb-F . . .■ net, .75 

16. Toccatina Compass l.h., F-C, r.h., D-A net, .50 

17. Impromptu (In Days of Yore) Compass Ab-Ebf net, .50 

18. The Scholar (Fughetta) Compass l.h., C-G, r.h., G-D -net, .50 

19. The Hunter's Call (Woodland Mood) Compass l.h., G-D, r.h., E-B net, .50 

20. Military March Compass l.h., G-D, r.h., E-B net, .50 

fidentical notes for both hands, one octave apart. 

BOSTON CARL FISCHER, NEW YORK Chicago 

380-382 Boylston Street COOPER SQUARE 335-339 So. Wabash Ave. 



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